The Faravahar is one of the best-known symbols of Zoroastrianism, the state religion of ancient Iran. This religious-cultural symbol was adapted by the Pahlavi dynasty to represent the Iranian nation.

The winged disc has a long history in the art and culture of the ancient Near and Middle East. Historically, the symbol is influenced by the "winged sun" hieroglyph appearing on Bronze Age royal seals (Luwian SOL SUUS, symbolizing royal power in particular). In Neo-Assyrian times, a human bust is added to the disk, the "feather-robed archer" interpreted as symbolizing Ashur.

While the symbol is currently thought to represent a Fravashi (c. a guardian angel) and from which it derives its name, what it represented in the minds of those who adapted it from earlier Mesopotamian and Egyptian reliefs is unclear. Because the symbol first appears on royal inscriptions, it is also thought to represent the 'Divine Royal Glory' (khvarenah), or the Fravashi of the king, or represented the divine mandate that was the foundation of a king's authority.

This relationship between the name of the symbol and the class of divine entities it represents, reflects the current belief that the symbol represents a Fravashi. However, there is no physical description of the Fravashi is in the Avesta, the sacred texts of Zoroastrianism, and in Avestan the entities are grammatically feminine.

In present-day Zoroastrianism, the faravahar is said to be a reminder of one's purpose in life, which is to live in such a way that the soul progresses towards frasho-kereti, or union with Ahura Mazda, the supreme divinity in Zoroastrianism. Although there are a number of interpretations of the individual elements of the symbol, none of them are older than the 20th century.

Even after the Islamic conquest of Persia Zoroastrianism continued to be part of Iranian culture in which throughout the year festivities are celebrated such as the Persian New Year or Nowrouz, Mehregan and Chahar Shanbe Souri which are remnants of Zoroastrian traditions.

From the start of the 20th century the Farvahar icon found itself in public places and became a known icon amongst all Iranians. The Shahname by Ferdowsi is Iran's national epic and contains stories (partly historical and partly mythical) from pre-islamic Zoroastrian times. The tumb of Ferdowsi which is visited by numerous Iranians every year, contains the Farvahar icon as well.

After the Islamic Revolution of 1979 the Lion and Sun which was part of Iran's original national flag had been banned by the government from public places in order to prevent people from being reminded of life prior to the revolution, nevertheless Farvahar icons were not removed. As a result, the Farvahar icon became a national symbol amongst the people which became somewhat tolerated by the government compared to the Lion and Sun. The Farvahar is the most worn pendant amongst Iranians and has become a national symbol rather than a religious icon, although it's Zoroastrian roots are certainly not ignored.

Interpretation of the Faravahar

The Fravahar's face resembles the face of human being and therefore, indicates its connection to mankind. There are two wings which have three main feathers. These main feathers indicate three symbols of 'good reflection,' 'good words,' and 'good deed,' which are at the same time the motive of flight and advancement.

The lower part of the Fravahar consists of three parts, representing 'bad reflection,' 'bad words,' and 'bad deed' which causes misery and misfortune for human beings.

There are two loops at the two sides of the Fravahar, which represent Sepanta Minu, and Angra Minu. The former is directed toward the face and the latter is located at the back. This also indicates that we have to proceed toward the good and turn away from bad.

The circle in the middle of the Fravahar's trunk indicates that our spirit is immortal, having neither a beginning nor an end.

One hand of the Fravahar points upwards, showing that we have to struggle to thrive.

The other hand holds a ring. Some interpreters consider that as the ring of covenant, representing loyalty and faithfulness which is the basis of Zarathustra's philosophy.

History of the Faravahar

The history of the Faravahar design begins in ancient Egypt, with a stylized bird pattern which is known as the spread-eagle as it is called in heraldry and features a flying bird shown from below, with its wings, tail, and legs outstretched. Such designs have been used in cultures throughout history, including American, where the seal of the U.S. Government features a spread-eagle.

An Egyptian spread-eagle device is featured in the treasure of Tut-ankh-amoun which has a bird's body with a human head, and in which hieroglyphic symbols are held in the outstretched talons. These features will later re- appear, transformed, in the Faravahar. Closer still to the Faravahar are Egyptian designs which feature a sun-disc with wings. This winged sun-disc represents Horus, the hawk-god believed by the ancient Egyptians to be incarnate in Pharaoh, the god-king.

The winged disc was from the beginning a symbol of divine kingship, or the divine favor upon a king. Very early on (second millennium B.C.) this design had migrated from Egypt to the ancient Near East. It appears above the carved figure of a Hittite king, (The Hittites flourished from about 1400-1200 B.C.) symbolizing a god's favor in the spread-eagle form.

The proto-Faravahar symbol may have a native Mesopotamian origin, which was combined with the Egyptian symbol in ancient Assyria. Assyrian art also associates the winged disc with divinity and divine protection of the king and people. It appears both with and without a human figure.

Without the human figure, it is a symbol of the sun-god Shamash, but with the human figure, it is the symbol of the Assyrian national god Assur. This appears on many carvings and seals. The Assyrian versions of the winged disc sometimes have the kingly figure inside the disc, and others have him arising from within the disc in a design that is very close to the Faravahar as it appears in Persian art. The graphic evolution from the spread-eagle is evident in the stylized Assyrian version of the design, where the bird's legs are abstracted into wavy streamers on either side of the disc which end either in claws or in scrolls, as they do in the Persian design.

By the time of the Achaemenid kings (dynasty flourished from about 600 B.C. to 330 B.C.), then, the design that would become the Faravahar had already been in use for at least 1000 years, from Egypt to Syria and then to Assyria. The early Achaemenids conquered Mesopotamian lands in the 6th century B.C., and re-patriated all the peoples subject to Babylonian rule, the Jews among them. These same Achaemenids also adopted Assyrian and Babylonian motifs for their monumental art, including the winged disc.

The Persian Faravahar is carved on the rock-cut tombs of the Achaemenid kings at Bisetoon in Iran, and varies from one carving to the other. In one it is very much like the Assyrian version, with squared-off wavy wings. But it is in the carvings of Persepolis, center of the Achaemenid dynasty, that the Faravahar reaches its most elaborate and finely wrought perfection. The Faravahar of Persepolis is the one that has been adopted by Zoroastrians as their symbol.

When it must fit a horizontal, narrow space, the winged disc is depicted without the human figure in the disc. But when there is enough space, the Faravahar is shown in all of its glory, with kingly figure, disc, streamers, and many-feathered wings. And, as it had done throughout history, from Egypt to Mitanni to Assyria, it represents the divine favor hovering above the king.

Scholars disagree about just what the symbolism of the Persian faravahar indicates. Is it a symbolic image of Ahura Mazda, the Zoroastrian name for the One God, the "Wise Lord?" If it represented Assur for the Assyrians, is it Ahura Mazda for the Persians? Many scholarly writings on the image still identify it as such. But in the Zoroastrian faith, Ahura Mazda is abstract and transcendent.
God has no image and so cannot be represented in any form.

The only exceptions are during the later Persian Empire, in the Sassanian era, when Lord Mazda was represented as a divine, kingly figure handing a diadem to the Persian Emperor - and this was not used in worship.The human figure above the disc, though he was borrowed from a pagan
Assyrian god-image, has no specific identification, nor is there any evidence, as some folk beliefs have it, that he is the Prophet Zarathushtra. More recent scholarship has given the Persian Faravahar a more precise meaning.

The winged disc as depicted by the Persians above the image of the King represents the Royal Glory, which is known in ancient Iranian (Avestan) as khvarenah, or Radiant Glory. After the Achaemenids the image of the Faravahar disappears from Persian art. There is no evidence for it in the remaining art of the
Parthian period, and it is absent in the art of the Sassanian period, the resurgent Persian empire of about 250-650 A.D. However, Sassanian art does echo some of the individual features of the Faravahar. One of the main symbols of the Sassanian monarchy and its divine protection was the crescent in a circle, with ribbons streaming from either side The ring which is held in the Achaemenid Faravahar's hand is still used in Sassanian art to depict the royaldiadem, which is handed to the new King by the symbolic representation of Ahura Mazda himself or by the yazata (guardian spirit) of Waters, Anahita. And the spread wings, though in a somewhat different configuration, adorn the crown of a 6th or 7th century AD Sassanian
king.

After the Arab conquest, the winged disc, the winged crown, and the ring of kingship fade into obscurity, though ironically the crescent became the prime symbol for the new religion, Islam. The Faravahar would remain an ancient relic until the early twentieth century, when both British and Indian antiquarians gave it another life. The general scholarly opinion, at least in the West, was that the winged disc represented Ahura Mazda.

In 1925 and 1930 a Parsi scholar, J.M. Unvala, wrote articles which identified the Faravahar as the symbol of the fravashi or guardian spirit of Zoroastrian teaching. Through the influence of the Unvala articles, and a renewed awareness among Zoroastrians of their Iranian heritage, the Persepolis winged disc began to be used as a symbol for Zoroastrianism - not only because of its supposed religious significance, but because of its national symbolism as the device of a great Zoroastrian empire.

In 1928, the great Parsi Avesta scholar Irach Taraporewala published an article identifying the Winged Disc not as Ahura Mazda or as fravashi, but as the khvarenah or royal glory. It was in these early decades of the 20th century that the Faravahar began to be incorporated into the design of Zoroastrian temples, publications, and ornaments. After centuries of obscurity, the ancient faith of Zoroastrianism had a new visibility, and a symbolic standard to raise.

The word "faravahar" actually is Pahlavi, or Middle Persian. It derives from ancient Iranian (Avestan) word fravarane which means "I choose." The choice is that of the Good, or the Good Religion of Zarathushtra.

Another related word is fravarti or fravashi, which may derive from an alternative meaning of "protect," implying the divine protection of the guardian spirit, the fravashi. From these words come the later Middle Persian words fravahr, foruhar, or faravahar.

Whatever the origin of the word, the use of the wordfaravahar to describe the Winged Disc is modern. No one knows what the ancient Persians called their winged disc. But the history of the symbol, both before and during its Persian use, has a continuous meaning, and that is one of divine favor for a king.

As the Winged Sun-disc of Horus it hovered over the Pharaoh of Egypt; it hovered over the Hittite King, and in Assyrian art it is depicted over the Assyrian King, often with weapons in its hands, helping the Assyrian monarch wage war. So when it enters Persian art, it is already a symbol of divine guardianship of the king.

The current consensus on what the Faravahar meant to the ancients who carved it is that it represents not Ahura Mazda, but the Royal Glory of the Persian King. This view is held by scholars such as Boyce and Jafarey. This Royal Glory is an important concept in Zoroastrian teaching; the Avestan word for it is khvarenah.Khvarenah comes from the Avestan root khvar or "shining;" it is also the word for the sun.

The word khvarenah is more abstract; it has the connotations not only of "glory" but of "divine grace." The sun-symbolism of the disc and the Mazdean concept of divine grace are thus combined.

Khvarenah, in later Persian, became khurrah or farnah or farn, and still later became farr. If the Faravahar symbol actually represents
khvarenah, then it should more accurately be called the "farr" rather than the "faravahar."Khvarenah, in the Persian Empire, came to mean a
specifically royal glory. It was a God-given gift, almost like the Greek word "charisma," which insured and legitimated the King's rule. However, though it was a gift of God, it could be abused, and if
the King turned to evil-doing, the khvarenah would leave him.

This myth of the khvarenah is present in the story of the mythical Iranian King, Yima or Jamshid. He was the greatest of the prehistoric kings of Iran, and possessed the glorious khvarenah. But he became too proud and arrogant. Some stories say that he even called himself a god. Because of his pretension and pride, Yima lost the khvarenah. This myth is alluded to in the Gathas of Zarathushtra, in Yasna 32.

In the later scriptures of Zoroastrianism, this myth is retold in the Zamyad Yasht, the prayer- song to the spirit of the Earth: "But when he (Yima) began to find delight in words of falsehood and untruth, the Glory was seen to fly away from him in the shape of a bird." (Yasht 19, 34) Thus in both word and image, Glory has wings.

In the Shah-nameh, the national epic of Iran, the Glory is also referred to as the Glory of the Auspicious
Bird, which hovers over the heads of royal or princely personages. The Glory was symbolized on the battlefield by an eagle feather in the King's crown, which served as standard and inspiration to the warriors of Iran. In Sassanian art, where the Winged Disc is no longer used, the khvarenah is depicted as a circular halo
around the head of the King, a halo very similar to that of Christian saints. The Sassanian halo and the idea of the khvarenah can be compared to Jewish and Christian light-symbolism.

In Jewish tradition, Moses' face shone so brightly after his meeting with God on Mount Sinai that the people could not look directly at him and he had to veil his face. (Exodus, chapter 34).

In Christianity, the divine Glory shines around the figure of Christ during the Transfiguration (Gospel of Matthew, chapter 17). The light of the Transfiguration is known among Eastern Christians as the "Uncreated Light," and in its association with saints, heroes, and Christ it is similar to the khvarenah of the Zoroastrians.
In this there may indeed be some Zoroastrian influence on Christian thinking, as the two cultures lived side-by-side in the Middle East for centuries.

In the Zoroastrian tradition the khvarenah is not just the Glory of the king, but has a wider range, as can be seen in the Avesta. The Zamyad Yasht praises the glory not only of the ancient Kings of Iran, but of the whole Aryan people, its mountainous land, and its Prophet, Zarathushtra.

In the Atash Nyayesh, the Zoroastrian prayer to Fire, the khvarenah is identified with the light of the Sacred Fire.

The revelation of Zarathushtra from the beginning has been associated with light.
The Gathas are filled with light and sun imagery; light is not only physical, but metaphysical, the prime symbol for Goodness and God. Thus the khvarenah in Zoroastrian teaching, though specified to the glory of the King, also has a much more universal meaning.

According to Zoroastrian scholar Dr. Farhang Mehr, the khvarenah is granted to those human beings who are great benefactors of the world: good kings and rulers, prophets like
Zarathushtra, or heroes. In the Gathas, these benefactors are called saoshyant, an Avestan word which means "saviour."

In later Zoroastrianism the term saoshyant acquires a messianic, mythical meaning, and this Saoshyant also enjoys the blessing of the khvarenah. Thus khvarenah also has the meaning of God's Grace. But is this grace only for the Great Ones of the World, or do we lesser folk have - khvarenah, too? As Mehr has written, the khvarenah is enfolded within everyone. With those who are great in virtue, it is more radiant and powerful. Our work on this Earth is to grow in goodness and thus show forth our own God-given khvarenah, which is the light of our excellence. This, then, is what the Winged Disc signifies both for the ancients and for us: the shining khvarenah, or "farr."

The Faravahar has another possible meaning, and that is its association with fravashi. Earlier I mentioned that J.M. Unvala identified the Winged Disc as a symbol of fravashi. This interpretation can be connected with the other linguistic meaning of faravahar as "protection." The Winged Disc is often called a fravashi rather than a faravahar, especially by the Indian Parsi Zoroastrians.

What exactly is a fravashi? The origin of the word, as has been said here, relates either to divine protection or to one's moral choice of Good or Evil, and one's choice of the Good Religion. But there is much more to it than that. The concept of the fravashi as guardian spirit does not occur in the Gathas of Zarathushtra. But in later Zoroastrianism, it
becomes a most important idea. The Fravashi is the part of the human soul that is divine, unpolluted, and uncorrupt. It is not only our divine guardian but our guide; its perfection is always within us, as an ideal towards which we can reach. Every human being has a fravashi; even the divine spirits have them. Once a human being has finished life on earth, the fravashi, the higher individuality of that person, returns to Heaven. The fravashi may be the inspiration for the Jewish and Christian belief in the "guardian Angel," which always beholds the face of God (Matthew Gospel, 18:10).

In the later books of the Avesta (the Zoroastrian scriptures), the fravashis of the righteous are invoked as fierce and mighty warriors for the Good. In a long prayer called the Farvardin Yasht, there are litanies praising and reverencing the fravashis of the early "saints" and heroes of Zoroastrian tradition.
The
fravashis of the good departed are supposed to return to earth on special days, and towards the very end of the Persian year, in March, just before the Persian New Year, there are ceremonies to honor the fravashis of the righteous.

The Winged Disc may or may not represent Fravashi in ancient Persian art, but there is a precedent for this meaning in the popular religious art of ancient Egypt. There, the immortal soul of a human being, called a ba, is represented by a stylized bird with a human head. The "Ba-bird" is depicted in many different styles and positions, including the familiar "spread-eagle" configuration we recognize in the Faravahar.

In Egyptian lore just as in Persian, the spirits of the dead could leave their tombs and fly about the land of the living, just as the fravashis gather just before the New Year.

Amulets depicting the "ba-bird" often adorned mummies.

even after the Greek occupation of Egypt in Hellenistic times.

Although the fravashi is unrelated theologically to the khvarenah, they both serve as embodiments of divine guidance and grace.

The Winged Disc, for Zoroastrians, has come to signify the divine fravashi hovering above, an image of the perfection of the soul that can lead us forward to good thoughts, words, and deeds. Whether it symbolizes the khvarenah or the fravashi, or both, the Winged Disc is a symbol of the radiance of Divine Grace, and it truly soars on wings of light.

Folk Interpretations of the Faravahar

Once the Winged Disc had been adopted as a symbol of Zoroastrianism, it entered into the community not only as a graphic symbol but as a folk motif. The Zoroastrian faravahar was "standardized" to the Persepolis model, though, as we have seen, even in Persepolis there are many variants of the Faravahar. The "standard" Faravahar is now the one you see on this Web page, which appears over the heads of the Persian kings on the walls of Persepolis.

Stone carved Faravahar in Persepolis.

It is this emblem which identifies Zoroastrian publications and decorates Zoroastrian temples and gathering places, which has also been made into forms of jewelry for men and women, woven into wall-hangings, carved into marble and semi- precious stones, glazed onto ceramic heirlooms, and even made into paper and plastic stickers.

Not only Zoroastrians, but patriotic Iranians of all creeds use the Faravahar, and various simplified versions of the Persepolis standard appear in carpet stores, restaurants, advertisements, and other Iranian concerns all around the world.

Along with the widespread use of the faravahar as a heraldic and decorative motif have come many interpretations of the symbol and its components which have little or nothing to do with the actual historical meaning of the symbol. None of these interpretations of the Faravahar design are found in any extant Zoroastrian scripture. But Zoroastrian priests and elders now use the Faravahar as a visual tool to illustrate the basic elements of the religion, especially when they are teaching children.

A sample of such an interpretation can be found in the book "Message of Zarathushtra" by the Iranian mobed (priest) Bahram Shahzadi, who presides at the California Zoroastrian Center in Los
Angeles. This book is meant for middle-school children, but is read by people of all ages. In a short chapter called "What is Fravahar?" Shahzadi enumerates the symbolism of the various parts of the
design. The bearded old man springing out of the central disc symbolizes the human soul.

His upper hand is extended in a blessing, pointing upward to keep us in mind of higher things and the path to heaven. The other hand holds a ring, which is the ring of promise: it
reminds a Zoroastrian always to keep one's promises. There are three layers of feathers in the wings, and these three layers stand for the Threefold Path of Zoroastrianism: good thoughts, good words, and good deeds. The central disc, which as a circle has no end, symbolizes eternity.

The two streamers extending out from the central disc symbolize the two choices, or paths, that face human beings: the choice of good or the choice of evil. The streamers thus illustrate the ethical dualism taught by Zarathushtra.

Another folk interpretation of the Faravahar comes from an educated Zoroastrian layman. Some of his descriptions are the same as those in the Shahzadi book, but he adds more details. The open wings, as in Shahzadi's book, represent the Threefold Path. But the closed skirt of the human figure within the disc represents evil choices, divided into three layers: bad thoughts, words, and deeds. The circle at the waist of the figure represents not the Sun nor Eternity, but the law of consequences which is comprised in the divine ASHA, the Zoroastrian concept of the divinely created order of the universe. Good or evil deeds have their consequences, which "come around" to the person who acts morally or immorally. Thus the circle denotes moral returns according to ASHA.

Yet another interpretation of the Achaemenid design comes from an esoteric point of view. There are some Zoroastrians who are influenced by Theosophy, an eclectic esoteric movement of the
nineteenth century. These have added Hindu and Buddhist esoteric ideas to Zoroastrianism, such as reincarnation, karma, and astral planes. For these believers, the Faravahar is a symbol of the soul's progression through many lives.

The head of the man reminds one of God-given free will. The ring held in the man's hand symbolizes the cycles of rebirths on this earth and in other planes of reality. The central circle represents the soul; the two wings are the energies that help the soul to evolve and progress.

In this interpretation, there are five layers of feathers in the wings (a particularly elaborate version of the Persepolis emblem) and these five layers signify the five Gatha hymns of the Prophet, the five divisions of the Zoroastrian day, the five senses, and also five esoteric stages that the soul must pass through on its way to God.

As in the other explanations, the two streamers represent the two choices before human beings, the Good Mentality and the Evil Mentality. The tail (which is not mentioned in the other interpretations) is the "rudder" of the soul, for balance between the forces of Good and Evil.

There are three layers of feathers in the tail, which stand for the Threefold Path of
Good Thoughts, Words, and Deeds The Faravahar has flown a long way since it first saw the light in
ancient Egypt. The winged sun-disc has shone its grace down upon divinely gifted kings, and it has spread its wings as protector of the glory of Iran.

After millennia of obscurity, the symbol of the holy and radiant khvarenah again shines clearly. As world communications become ever more elaborate and widespread, the Faravahar has entered into a wider world. It has flown free from the walls of Persepolis and now shines among new peoples on new continents. It is now found on computer screens instead of ancient carved stones. Let us hope that the Faravahar, with its universal meaning of light, wisdom, righteousness, and God's grace can take its place among the great symbols of spirit, to inspire people all over the Earth.